30 May 2011

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NEAR RENVYLE, CONNEMARA and GURTEEN, ROUNDSTONE, CONNEMARA (A PAIR)
NEAR RENVYLE, CONNEMARA and GURTEEN, ROUNDSTONE, CONNEMARA (A PAIR)
Fergus O'Ryan RHA (1911-1989)

Auction Date / Lot No.: 30 May 2011 / 1

Published Estimate: €1000-1500

Price Realised: €1200

  • Signature: both signed lower right; each with title inscribed on artist's label on reverse
  • Medium: oil on board
  • Dimensions: 37 by 49cm., 14.5 by 19.2 5in.
  • Dimensions of second work, 9.25 by 14.75ins.

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EVENING NEAR GLENTIES, COUNTY DONEGAL
EVENING NEAR GLENTIES, COUNTY DONEGAL
Rowland Hill ARUA (1915-1979)

Auction Date / Lot No.: 30 May 2011 / 2

Published Estimate: €300-500

Price Realised: €400

  • Signature: signed lower left; with typed label detailing title on reverse; with framing label of F.G. Davis & Sons Ltd [19 North St. Arcade, Belfast] on reverse
  • Medium: oil on canvas laid on board
  • Dimensions: 27 by 37cm., 10.7 5 by 14.7 5in.
  • Contained in original frame.

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HIS FIRST SUMMER, 1980
HIS FIRST SUMMER, 1980
Susan Mary Webb (b.1962)

Auction Date / Lot No.: 30 May 2011 / 3

Published Estimate: €1000-1500

Price Realised: €0

  • Signature: signed and dated lower right; inscribed with title and artist's studio address [The Blue Door Studio, Dublin] on reverse; also with Image Art Gallery, Dublin label and David Hendriks Gallery framing label on reverse
  • Medium: oil on canvas
  • Dimensions: 41 by 51cm., 16 by 20in.
  • Provenance: Provenance:Image Art Gallery, Dublin; Private Collection
  • In original Hendriks Gallery frame.

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FEEDING THE CHICKENS, c.1987
FEEDING THE CHICKENS, c.1987
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 30 May 2011 / 4

Published Estimate: €1500-2000

Price Realised: €2000


FARMHOUSE, c.1989
FARMHOUSE, c.1989
Thomas Ryan PPRHA (b.1929)

Auction Date / Lot No.: 30 May 2011 / 5

Published Estimate: €3000-4000

Price Realised: €2700


BRANNIGAN'S FIELD, 1989
BRANNIGAN'S FIELD, 1989
Padraig Lynch (b.1936)

Auction Date / Lot No.: 30 May 2011 / 6

Published Estimate: €800-1200

Price Realised: €750


REFLECTIONS, LOUGH INAGH
REFLECTIONS, LOUGH INAGH
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 30 May 2011 / 7

Published Estimate: €800-1000

Price Realised: €1450


THE BLACKWATER AT KELLS, 1990
THE BLACKWATER AT KELLS, 1990
Padraig Lynch (b.1936)

Auction Date / Lot No.: 30 May 2011 / 8

Published Estimate: €600-800

Price Realised: €600


CELBRIDGE, 1984
CELBRIDGE, 1984
Niccolo d'Ardia Caracciolo RHA (1941-1989)

Auction Date / Lot No.: 30 May 2011 / 9

Published Estimate: €2000-3000

Price Realised: €2000

  • Signature: signed lower right; with original inscribed King Street galleries label on reverse
  • Medium: oil on board
  • Dimensions: 24 by 37cm., 9.5 by 14.5in.
  • Provenance: King Street Galleries, London;

    Private collection

    Bonhams, London, 26 September 2006, lot 161;

    Private collection;

    Adam's & Bonhams, Dublin, 30 May 2007, lot 14;

    Private collection

  • Exhibited: Exhibited:King Street Galleries, London, 4 July 1984 (catalogue untraced)
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LOCH DUNLEWY, COUNTY DONEGAL
LOCH DUNLEWY, COUNTY DONEGAL
James Humbert Craig RHA RUA (1877-1944)

Auction Date / Lot No.: 30 May 2011 / 10

Published Estimate: €8000-10000

Price Realised: €10000

  • Signature: signed lower right; with title inscribed on reverse
  • Medium: oil on canvas
  • Dimensions: 51 by 61cm., 20 by 24in.
  • Literature: Literature:Connell, George A., James Humbert Craig, The Natural Talents of J.H. Craig 'The Peoples' Artist', The Universities Press, Belfast, 1988, p.71 (illustrated)
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MAAM VALLEY, COUNTY GALWAY
MAAM VALLEY, COUNTY GALWAY
George K. Gillespie RUA (1924-1995)

Auction Date / Lot No.: 30 May 2011 / 11

Published Estimate: €2000-3000

Price Realised: €0

  • Signature: signed lower left; with title inscribed on original label on reverse
  • Medium: oil on board
  • Dimensions: 39 by 51cm., 15.5 by 20in.
  • Provenance: Provenance:Combridge Fine Arts, Dublin;

    Private collection;

    Whyte's, 8 May 2002, lot 165;

    Whence purchased by the present owner

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HOUSE WITH A RED ROOF
HOUSE WITH A RED ROOF
Mary Swanzy HRHA (1882-1978)

Auction Date / Lot No.: 30 May 2011 / 12

Published Estimate: €2500-3500

Price Realised: €2000

  • Signature: with stamp of the Mary Swanzy Studio Sale [May 2007] exposed on reverse
  • Medium: oil on canvas
  • Dimensions: 27 by 36cm., 10.7 5 by 14in.
  • Provenance: Provenance:Studio of the artist; 'The Irish Sale Part II including works from the studio of Mary Swanzy HRHA, Christies, 10 May 2007, lot 332 (illustrated); Private Collection
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THE RIVER DODDER NEAR TEMPLEOGUE
THE RIVER DODDER NEAR TEMPLEOGUE
Maurice MacGonigal PRHA HRA HRSA (1900-1979)

Auction Date / Lot No.: 30 May 2011 / 13

Published Estimate: €2000-3000

Price Realised: €1900

  • Signature: signed lower left; with title on reverse; with original Victor Waddington Galleries framing label on reverse
  • Medium: watercolour with gouache over pencil
  • Dimensions: 30 by 39cm., 12 by 15.2 5in.
  • Provenance: Provenance:The Victor Waddington Galleries, Dublin; Private collection
  • In original Victor Waddington frame.

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BATHING POOL and WINTER SUNSET (A PAIR)
BATHING POOL and WINTER SUNSET (A PAIR)
Olive Henry RUA (1902-1989)

Auction Date / Lot No.: 30 May 2011 / 14

Published Estimate: €400-500

Price Realised: €380

  • Signature: each signed lower right; the latter with note affixed on reverse in a later hand detailing title and artist's address [Holywood, Co. Down]
  • Medium: watercolour with gouache
  • Dimensions: 27 by 37cm., 10.5 by 14.5in.
  • Dimensions of second work; 8.5 by 16ins. A work entitled Winter Sunset was exhibited by Henry with the Watercolour Society in 1966, no. 130 [£8-8-0]

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CHILDREN AT PORTMARNOCK, c.1929
CHILDREN AT PORTMARNOCK, c.1929
Eva Henrietta Hamilton (1876-1960)

Auction Date / Lot No.: 30 May 2011 / 15

Published Estimate: €3000-4000

Price Realised: €3800

  • Signature: inscribed in a later hand on reverse; with Victor Waddington Galleries labels [No. 6099-1] on reverse
  • Medium: oil on board
  • Dimensions: 38 by 46cm., 15 by 18in.
  • Provenance: Provenance:The Victor Waddington Galleries, Dublin; Private collection; Adam's, 28 September 2005, lot 90; Private collection
  • Exhibited: Exhibited:RHA, Dublin, 1929, no. 118 (£30-0-0)
  • With a view of Ireland's Eye in the distance

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BATHERS AT RUSH, 1948
BATHERS AT RUSH, 1948
Patrick Leonard HRHA (1918-2005)

Auction Date / Lot No.: 30 May 2011 / 16

Published Estimate: €2000-3000

Price Realised: €1900


SANDYCOVE, 1965
SANDYCOVE, 1965
Chris Reid (b.1918)

Auction Date / Lot No.: 30 May 2011 / 17

Published Estimate: €500-700

Price Realised: €470

  • Signature: signed and dated lower right; with original Combridge Gallery label on reverse
  • Medium: oil on board (unframed)
  • Dimensions: 41 by 61cm., 16 by 24in.
  • Chris Reid was born in Ballina, Co. Mayo. She moved to Dublin in the 1930s where she studied dress design at the Grafton Academy. Later she attended the College of Art, Dublin and joined the Graphic Studio where she studied the art of printmaking. She has served as a committee member of the Graphic Studio and the Watercolour Society of Ireland. Her work is included in the Arts Council, Hugh Lane Municipal Gallery and An Taisce Collections.

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MOTHER AND CHILD GOING HOME and THE FIGHT, 1931 (A PAIR)
MOTHER AND CHILD GOING HOME and THE FIGHT, 1931 (A PAIR)
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 May 2011 / 18

Published Estimate: €300-400

Price Realised: €350

  • Signature: both signed and dated in the margin lower right; the first signed with initial [K] in the plate lower left; the latter signed [Kernoff] lower left and dated [1929] in the plate, lower left and lower right respectively
  • Medium: woodcut
  • Dimensions: 20 by 26cm., 8 by 10.2 5in.
  • Both works of equal size; framed and mounted uniformly.

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WOODCUTS
WOODCUTS
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 May 2011 / 19

Published Estimate: €300-500

Price Realised: €1050

  • Signature: signed and numbered on limitation page, opposite title page (no. 48 from an edition of 220)
  • Medium: limited edition book
  • Dimensions: 27 by 22cm., 10.5 by 8.5in.
  • Provenance: Provenance:Library of Tomas O'Deirg, Irish Volunteer and Government Minister
  • Cahill & Company, Dublin, 1942. Limited edition of 220 copies, of which this is number 48. Contains a foreword by Edward Sheehy and thirty-six woodcuts by Kernoff, each with a protective tissue interleave. Quarto; full beige linen lettered in black on spine and upper board.

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THE METAL BRIDGE DUBLIN, 1940
THE METAL BRIDGE DUBLIN, 1940
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 May 2011 / 20

Published Estimate: €150-200

Price Realised: €220

  • Signature: signed in the margin lower right; with title and date inscribed lower left
  • Medium: woodcut
  • Dimensions: 15 by 11cm., 6 by 4.5in.
  • Literature: McAuley, Rosemary, A Fresh Way of Seeing: Harry Kernoff in his times, The Irish Jewish Museum, Dublin, No. 6 in a series of educational booklets, April 2003, plate no. 6 (full-page illustration, Courtesy of The National Library of Ireland)
  • Sheet size: 9.5 by 7.5ins. This scene depicts Dublin's Ha'penny Bridge. A version of this work was exhibited by Kernoff in the 'Exhibition of Pictures by the Dublin Painter' at The Gallery, 7 St. Stephen's Green, Dublin, 20 November - 3 December 1930. The original pen and ink drawing for this woodcut can be found in the collection of the National Library of Ireland [See NLI, Prints and Drawings Collection list, Harry Kernoff Collection PD 2090TX, I.iii. Dublin Scenes, Item 123].

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REFLECTIONS ON THE DODDER, CLONSKEA [SIC], 1934
REFLECTIONS ON THE DODDER, CLONSKEA [SIC], 1934
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 May 2011 / 21

Published Estimate: €6000-8000

Price Realised: €7700

  • Signature: signed and dated lower right; with title and artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: oil on board
  • Dimensions: 30 by 40cm., 12 by 15.7 5in.
  • Kernoff painted and exhibited several views along the River Dodder at Milltown and Clonskeagh in the 1920s and 1930s. Several of these were exhibited in Dublin, at 7 St. Stephen's Green and the Victor Waddington Galleries, and in London at The White Gallery.

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OLD HUGUENOT HOUSE, DIGGS [SIC] ST. OFF REDMOND'S HILL, DUBLIN, c.1952-1957
OLD HUGUENOT HOUSE, DIGGS [SIC] ST. OFF REDMOND'S HILL, DUBLIN, c.1952-1957
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 May 2011 / 22

Published Estimate: €4000-6000

Price Realised: €4000

  • Signature: signed lower left; with location in pencil on reverse; with original Dawson Gallery framing label on reverse
  • Medium: oil with gouache and pastel on card
  • Dimensions: 29 by 38cm., 11.2 5 by 15in.
  • Provenance: Provenance:de Veres, 7 March 2000, lot 103; Private collection
  • In original Dawson Gallery frame. A larger example of this view entitled Last House in Diggs Street (off Aungier Street) Dublin sold for €30,000 in 2005. That work was dated 1952 and it was noted on reverse that the same Huguenot building featured was demolished in 1957. A painting entitled Old House, Dublin was exhibited in the RHA, 1958, no. 17 [£75-0-0]

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PORTRAIT OF BERTHOLD HEMPEL (SON OF THE GERMAN AMBASSADOR) 1939
PORTRAIT OF BERTHOLD HEMPEL (SON OF THE GERMAN AMBASSADOR) 1939
Patrick Hennessy RHA (1915-1980)

Auction Date / Lot No.: 30 May 2011 / 23

Published Estimate: €2000-3000

Price Realised: €3000

  • Signature: inscribed by the sitter's father [Dr. Edward Hempel (1887-1972)] with artist and sitter's names and dated on reverse; also with location [the Ambassador's home address, "Gortleitragh", Dun Laoghaire, Co. Dublin] on reverse
  • Medium: pastel
  • Dimensions: 46 by 30cm., 18 by 12in.
  • Provenance: Provenance:Collection of the Hempel family; Their estate sale, Munich, Germany, 1994; where purchased by the present owner
  • Berthold Hempel, younger brother to Liv Hempel, whose portrait by Hennessy was sold through Whyte’s on 14 March of this year [€4,800], was one of five children born to Dr Hempel and his wife, Eva, two of whom were born in Dublin during his term as “Envoy Extraordinary and Minister Plenipotentiary of the German Reich” from 1937 to 1945. Drawn in 1939 this endearing portrait shows the two year old in traditional German dress clutching an apple and placed against a backdrop of pastel floral wallpaper. Dr Hempel commissioned portraits of each of his family members by the then emerging Cork artist Patrick Hennessy. The portraits were made at Dr Hempel’s official residence on Sloperton Road, Dún Laoghaire and it was to this address that then Taoiseach Éamon de Valera famously called to express the Free State’s condolences following Hitler’s death in 1945. After the War, Dr Hempel resigned his diplomatic post and the family was granted asylum in Ireland. Berthold sadly died in Dublin in 1948 from a brain tumour and the family returned to German in 1950 where Dr Hempel helped set up a diplomatic service for the new Federal Republic.

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PORTRAIT OF DESMOND McCARTHY, 1936
PORTRAIT OF DESMOND McCARTHY, 1936
Harry Kernoff RHA (1900-1974)

Auction Date / Lot No.: 30 May 2011 / 24

Published Estimate: €1500-1800

Price Realised: €0

  • Signature: signed and dated upper right; with title and artist's address [13 Stamer Street, Dublin] on reverse
  • Medium: pastel with pencil on buff coloured paper
  • Dimensions: 38 by 27cm., 15 by 10.7 5in.
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HEAD OF A GIRL WEARING A HAT (1895-1898)
HEAD OF A GIRL WEARING A HAT (1895-1898)
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 30 May 2011 / 25

Published Estimate: €10000-12000

Price Realised: €10000

  • Signature: signed lower left
  • Medium: pastel on buff coloured paper
  • Dimensions: 30 by 24cm., 12 by 9.5in.
  • Provenance: A gift from the artist to the original owner's sister, a fellow student at the Belfast College of Art; Thence by descent to the previous owner; Adam's & Bonhams, 30 May 2007, lot 53; Whence purchased by the present owner
  • Literature: Literature:Kennedy, S.B., Paul Henry, with a Catalogue of the Paintings, Drawings, Illustrations, Yale University Press, New Haven & London, 2007 p.123, catalogue no. 114 (illustrated)
  • The provenance of this work would suggest it dates to the period of autumn 1895 to summer 1898 when the artist would have gifted the drawing to his fellow student at the Belfast College of Art which he attended at this time. The previous owners of this work identified the sitter as the daughter of a caretaker in the Royal Ulster Academy. This early portrait by Henry is rare in that extraordinarily few examples from the artist's oeuvre in pastel have been traced.

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WEST OF IRELAND LANDSCAPE, 1925-1935
WEST OF IRELAND LANDSCAPE, 1925-1935
Paul Henry RHA (1876-1958)

Auction Date / Lot No.: 30 May 2011 / 26

Published Estimate: €60000-80000

Price Realised: €106000

  • Signature: signed lower left; with original Combridge Gallery framing label on reverse; also with Oriel Gallery label on reverse; with inscription ["Cottage & Peat-Stacks"] in another hand also on reverse
  • Medium: oil on canvas
  • Dimensions: 38 by 46cm., 15 by 18.2 5in.
  • Provenance: Adam's, 10 March 1988, lot 62; Private collection; The Oriel Gallery, Dublin, November 1998; Where purchased by the present owner
  • Literature: Literature:Kennedy, Dr S.B., Paul Henry: Paintings, Drawings and Illustrations, Yale University Press, New Haven and London, 2007, p.230, catalogue no. 646
  • This was formerly thought to be a view of Clare Island from Achill (Kennedy 2007, p.230), but now, with a larger image than was available in the past, the view is almost certainly of Moyteoge and Achill Head, seen from the Keel to Dooagh road. Certainly the twin peaks to the left and the profile of the mountains are similar to those in Henry’s Paysage Sinistre, 1914-15 (Kennedy, no. 406), which also depicts the scene, and the accompanying photograph which was taken from further south at Killeenabausty on Achill’s Atlantic Drive. The predominating mountain must therefore be Croaghaun and the barely indicated stretch of beach to the right, where the high ground meets the sea, is Keem Strand. West of Ireland Landscpape is dated 1925-35 on stylistic grounds and the strong colours and moderate impasto of the paint in the foreground are typical of Henry’s work at that time. Time and again Henry made paintings in his studio from sketches done much earlier. He often, too, painted variations on a theme. A characteristic of his output from about 1916-18 onwards, as in this picture, is an absence of people as he grew more interested in the landscape per se. And yet his ubiquitous cottages and turf stacks evoke a redolence of humanity and of our relationship to the very ground that supports us. Again, as here, Henry’s compositions often have a sense of timelessness which lends a gentle feeling of monumentality to his work.

    Dr S.B. Kennedy

    April, 2011

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AGONY IN THE GARDEN, 1963
AGONY IN THE GARDEN, 1963
Patrick Pye RHA (b.1929)

Auction Date / Lot No.: 30 May 2011 / 27

Published Estimate: €800-1000

Price Realised: €750

  • Signature: signed and dated lower right; signed and inscribed on reverse; with typed Ritchie Hendricks Gallery label on reverse
  • Medium: oil on board
  • Dimensions: 65 by 18cm., 25.5 by 7.25in.
  • Provenance: Provenance:The Ritchie Hendriks Gallery, Dublin; Private collection
  • Exhibited: Exhibited:'Patrick Pye', The Ritchie Hendriks Gallery, Dublin, May - June 1963, no. 21 [£33-0-0]
  • This work formed part of the 'Triptych of Innocence and Experience' section of the exhibition which comprised twenty-nine works [24] in oil, including work from The Passion Series, [5] studies and loose mounted drawings.

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SAINT BRENDAN THE NAVIGATOR - STUDY FOR STAINED GLASS
SAINT BRENDAN THE NAVIGATOR - STUDY FOR STAINED GLASS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 30 May 2011 / 28

Published Estimate: €1000-1500

Price Realised: €750

  • Medium: gouache on board
  • Dimensions: 23 by 10cm., 9 by 3.75in.
  • Provenance: Provenance:Estate of Margaret Clarke RHA; Private collection, Dublin; Whyte's, 22 February 2005, lot 50; Private collection
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CHRIST AND THE VIRGIN MARY FLANKED BY ANGELS
CHRIST AND THE VIRGIN MARY FLANKED BY ANGELS
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 30 May 2011 / 29

Published Estimate: €500-700

Price Realised: €700

  • Medium: gouache on card
  • Dimensions: 28 by 19cm., 11 by 7.5in.
  • Provenance: Provenance:Bequeathed to Margaret Clarke RHA (1888-1961), wife of Harry Clarke (1889-1931); Thence by descent to their son David Clarke (1920-2005)
  • When Evie Hone died, she left half of her own work still in her studio to the portrait artist Margaret Clarke, wife of Harry Clarke, her close friend for many years. Clarke supported Hone through difficult times, including her conversion to Catholicism in 1937, and in 1939, they spent some weeks travelling together in France, visiting art galleries and cathedrals. In the early fifties, Hone wrote to Clarke, "You know how much it has meant to me having your friendship all these years - I could never tell you how much. It has made a great difference to my life and been a real sustaining power, more than you could imagine." Clarke was a member of the committee that organised a large retrospective exhibition of Hone's work in 1958. On her death, Clarke bequeathed her Hone collection to her artist son, David Clarke

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DANCE OF DEATH
DANCE OF DEATH
Evie Hone HRHA (1894-1955)

Auction Date / Lot No.: 30 May 2011 / 30

Published Estimate: €1000-1500

Price Realised: €0

  • Signature: signed right of centre; inscribed in a later hand Gore-Booth Family, Lissadell, Co. Sligo, Mealy's, Castlecomer, Co. Kilkenny, 2002 on reverse
  • Medium: watercolour (tondo)
  • Dimensions: 23 by 23cm., 9 by 9in.
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PORTRAIT OF REV. FR. PATRICK O'MARA S.J. (1875-1969)
PORTRAIT OF REV. FR. PATRICK O'MARA S.J. (1875-1969)
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 31

Published Estimate: €1000-1500

Price Realised: €1700

  • Signature: signed lower right
  • Medium: charcoal and pastel on buff coloured paper
  • Dimensions: 51 by 44cm., 20 by 17.5in.
  • Reverend Patrick O'Mara S.J. was born in Limerick in 1875, the son of Stephen O'Mara, Mayor of Limerick from 1921 to 1923. After being educated at C.B.S. Limerick and Clongowes Wood College he entered the Jesuit novitiate of St. Stanislaus College, Tullamore and was ordained in 1908. During the First World War he followed in the footsteps of many Jesuits and served with the Army Chaplaincy Department on the Western Front. For his gallantry during the German Spring Offensive of 1918 he was awarded the Military Order of Christ by the Portuguese government for the bravery he showed burying bodies under heavy fire. At the end of the war he returned to Ireland where he worked on missions throughout the country until 1927 when he was appointed as a priest to St. Francis Xavier's, Gardiner Street, Dublin. He stayed here until his death on 23 March 1969. Father O'Mara is buried in the Jesuit plot of Glasnevin Cemetery Dublin alongside other famous Jesuits such as Titanic photographer Father Francis Browne.

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STUDY FOR STATION OF THE CROSS [CHRIST BEFORE PILATE, NO. 1] ST. JOHN'S CHURCH, TRALEE, c.1955-1958
STUDY FOR STATION OF THE CROSS [CHRIST BEFORE PILATE, NO. 1] ST. JOHN'S CHURCH, TRALEE, c.1955-1958
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 32

Published Estimate: €3000-4000

Price Realised: €2800

  • Signature: with title inscribed in the artist's hand lower right
  • Medium: pencil and conte on buff coloured paper
  • Dimensions: 75 by 50cm., 29.5 by 19.5in.
  • The figure of Christ in this work is modelled on Keating. We are grateful to Dr Eimear O'Connor HRHA for her assistance in cataloguing this work.

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - FRONTISPIECE
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - FRONTISPIECE
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 33

Published Estimate: €30000-40000

Price Realised: €41000

  • Signature: signed in Irish lower right; signed again, dated Aibrean [April] 1922 and numbered [1] on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 64cm., 30 by 25in.
  • Provenance: Provenance:Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection
  • Exhibited: Exhibited:RHA, Dublin, 1923, catalogue no. 171, as illustration for "The Playboy of The Western World" - Frontispiece
  • Literature: Literature:Synge, J. M. , The Playboy of the Western World, George Allen and Unwin, London, 1927 (frontispiece); Fitzpatrick Dean, Joan, Riot and Great Anger, Stage Censorship in Twentieth-Century Ireland, The University of Wisconsin Press, Wisconsin,
  • This painting was featured on a commemorative stamp issued by An Post, The Post Office, for the Centenary of the Death of John Millington Synge. The stamp, issued on 24 March 2009, was designed by Paul Raftery and printed by Irish Security Stamp Printing.

    Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - HAIRY GALLANT FELLOWS
ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - HAIRY GALLANT FELLOWS
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 34

Published Estimate: €30000-40000

Price Realised: €0

  • Signature: signed lower left; numbered [8] on reverse
  • Medium: oil on panel
  • Dimensions: 91 by 76cm., 36 by 30in.
  • Provenance: Provenance:Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection
  • Exhibited: Exhibited:RHA, Dublin, 1928, catalogue no. 52 as illustration for "The Playboy of The Western World", "Hairy Gallant Fellows"; Aonach Tailteann, Dublin, 1928, as Gallant Hairy Fellows
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - "HELEN AND THE HOLY PROPHETS"
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 35

Published Estimate: €30000-40000

Price Realised: €0

  • Signature: signed lower right; numbered [5] on reverse
  • Medium: oil on panel
  • Dimensions: 91 by 75cm., 36 by 29.5in.
  • Provenance: Provenance:Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection
  • Exhibited: Exhibited:Aonach Tailteann, Dublin, 1928 as Helen and the Holy Prophets
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD - "THAT WAS A GREAT BLOW"
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 36

Published Estimate: €25000-35000

Price Realised: €0

  • Signature: signed lower right; numbered [4] on reverse
  • Medium: oil on panel
  • Dimensions: 91 by 77cm., 36 by 30.2 5in.
  • Provenance: Provenance:Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection
  • Exhibited: Exhibited:possibly exhibited at the RHA, Dublin, 1926, catalogue no. 42
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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ILLUSTRATION FOR THE PLAYBOY OF THE WESTERN WORLD, ACT 1, "RISING UP IN THE RED DAWN..."
Sean Keating PRHA HRA HRSA (1889-1977)

Auction Date / Lot No.: 30 May 2011 / 37

Published Estimate: €15000-20000

Price Realised: €0

  • Signature: signed in Irish lower right; signed again and dated Aibrean [April] 1922 on reverse
  • Medium: oil on canvas
  • Dimensions: 76 by 64cm., 30 by 25in.
  • Provenance: Provenance:Acquired at the Dawson Gallery, Dublin, early 1950s; Thence by family descent to the previous owner; Whyte's, 30 April 2007, lot 90; Private collection
  • Exhibited: Exhibited:RHA, Dublin, 1923, catalogue no. 169 as illustration for "The Playboy of The Western World", Act 1, "Rising up in the red dawn..."
  • Literature: Literature:Synge, J.M., The Playboy of the Western World, George Allen and Unwin, London, 1927
  • Seán Keating has become synonymous with the west of Ireland in general, and with the Aran Islands in particular. His association with the western seaboard began as early as 1913 and was further emphasised through a series of self-portraits for which the artist dressed in Aran clothing. There is no evidence that Keating ever met John Millington Synge, but in 1917 the artist exhibited a painting in the RHA titled The Outlandish Lovers, which was inspired by The Playboy of the Western World. Synge’s nephew, known as ‘Hutchie’, approached Keating in 1922 with a commission to paint twelve illustrations for a proposed deluxe volume of The Playboy of the Western World. In the event, ten of the twelve images were published. Sir John Lavery was called upon to inspect the first four illustrations, three of which form part of this collection of five (lots 33, 36 and 37). Lavery was greatly impressed by the realism, colour and artistic invention in the work, and he considered them of great importance to the craft of book illustration in Ireland at that time. The full set of paintings was to have been ready in 1926, but a delay on Keating’s part meant that the book was finally published as a numbered series of one thousand copies in 1927. The publication has since become a collectors’ item. It was an important and prestigious commission, and Keating took his role as an illustrator of Synge’s work very seriously. As if to expand on Synge’s story, Keating chose scenes from the play that, for the most part, are not seen on stage. Perhaps most interesting of all is that Keating himself makes an appearance in the images as Christy Mahon’s father (lots 33, 36 and 37). Proving his commitment to the commission, the artist even posed entirely nude for the scene in which Christy’s father apparently awakes from the ‘dead.’ It is the only instance of a nude portrait of the artist in his entire career (lot 37). In order to plan the compositions in great detail Keating undertook a series of photographs using models from the school of art. He may also have taken sketches at the theatre because many of the actors of the day appear in the illustrations. Sara Allgood, sister of Molly for whom the role was originally written, appeared as Pegeen Mike in a production of The Playboy of the Western World staged in 1924. The features of the female model wrapping bandages around Christie’s head are very similar to Sara’s, but in this instance she is now the Widow Quin (lot 36). Barry Fitzgerald and F. J. McCormack, who took part in that same production in 1924, also make an appearance in Keating’s illustrations as ‘the hairy gallant fellows’ (lot 34). From 1926 until circa 1936 the role of Pegeen Mike was played by Eileen Crowe, who makes an appearance in Keating’s work in the guise of ‘Helen of Troy’, while a cast of likely-looking prophets, or Abbey actors, appear behind ‘the bars of paradise’ in order to get a look at her (lot 35). The artist makes another appearance as the figure to the left of the group of prophets. Once the publishers had reproduced the images to the required scale, the original paintings were returned to the artist who exhibited them in various venues in the late 1920s. They are an unusual, witty and yet contextually important series of works that signal the nature and extent of the interconnection between the visual arts and literature in the early years of the Irish Free State. Dr Éimear O’Connor HRHA Clare and Tony White post-doctoral research fellow TRIARC-Irish Art Research Centre, TCD.

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"FRANNCACH AG RITH I NDIAID A BHAIREID"
Mícheál MacLíammóir (1899-1978)

Auction Date / Lot No.: 30 May 2011 / 38

Published Estimate: €2000-3000

Price Realised: €3500

  • Signature: signed [M.MAC L.] lower left; with title inscribed in "Seanchlo" (old type) in the margin lower corner; with artist's name [Miceal Mac Uallmoir] also in the margin lower right; with typed label on original backing board on reverse
  • Medium: pen and ink with gouache heightened with white
  • Dimensions: 25 by 16cm., 9.75 by 6.25in.
  • Provenance: Provenance:Gifted by the artist to the present owner's father
  • Exhibited: ‘Micheal Mac Liammoir, Designs & Illustrations 1917-1972’, The Dublin Arts Festival, March, 1973, catalogue nos. 1,2 &5 (listed p.5 of catalogue); ‘Micheal Mac Liammoir, Designs & Illustrations 1917-1972’, Cork Arts Society Gallery, April 1973 presented by the Dublin Arts Festival and An Chomhairle Ealaíon ‘All for Hecuba. An exhibition to mark the Golden Jubilee of the Edwards – Mac Liammóir partnership and of the Gate Theatre 1928-1978’, Hugh Lane Municipal Gallery of Modern Art, Dublin, 2 October – 2 November, 1978, catalogue no. 3 as Five Pictures, 1917, of which these are three
  • Literature: Literature:Edwards, Hilton (foreword), Micheal Mac Liammoir, Designs & Illustrations 1917-1972, The Dublin Arts Festival, printed by E. & T. O'Brien, Dublin, 1973, p.5 (listed)
  • Sheet size: 10.75 by 7ins. These three exceedingly rare and early examples by English-born Irish actor, dramatist, impresario, writer, poet and painter Mícheál Mac Líammóir are perhaps the earliest of his ouevre ever offered, dating to 1917. Enchanting and, at the same time, slightly sinister they exude all the charm and Celtic mysticism one might expect from a Renaissance man of the era and are testament to the artist’s imagination which repeatedly drew inspiration from ancient Irish folklore as well as from his celebrated contemporary, Jack Butler Yeats. Born Michael Willmore, near London, the artist began his career early as a child actor playing roles such as Oliver Twist at the tender age of eleven at His Majesty’s Theatre. As a young man he became fascinated with the Irish language and joined a London branch of the Gaelic League and became a self-taught gaelgóir. Theo Snoddy notes, “On coming to Dublin, he signed his watercolours Michael Willmore but in a small part at the Abbey Theatre in 1917 he became Mícheál MacLiammóir.” Amusingly, these early works trace this transition, two are signed “Micheal Willmore, 1917”, the latter is signed “Míceál Mac Uallmóir”. Snoddy notes an astonishing twelve different signature formats throughout the artist’s career. In 1928 Mac Líammóir founded The Gate Theatre with partner Hilton Edwards, who aptly described his graphic work as having, “…a romantic beauty, an evocation of things other than the obvious and the commonplace. An almost foot-light glamour is never really absent from them, or at least a light not seen by ordinary eyes. Never is gaiety far from his work, and there is always a sense of other-worldliness, whether that other world be of the Sidhe or of those lands that lie behind the theatre curtain that is about to rise.” (Foreword, The Dublin Arts Festival catalogue) These works were gifted by the artist to the current owner’s father who was a friend and colleague of the artist and have since been lent to several exhibitions as well as to Radió Teilifís Éireann (RTÉ) c.1999 for the documentary, Dear Boy: The Story of Mícheál Mac Líammóir.

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CENTAURS, 1917
CENTAURS, 1917
Mícheál MacLíammóir (1899-1978)

Auction Date / Lot No.: 30 May 2011 / 39

Published Estimate: €2000-3000

Price Realised: €2200

  • Signature: signed [MICHAEL WILLMORE.1917] lower left; with title inscribed in block capitals in the margin beneath the mount; with typed label affixed to original backing board
  • Medium: pen and ink with gouache heightened with white
  • Dimensions: 23 by 15cm., 9 by 6in.
  • Provenance: Provenance:Gifted by the artist to the present owner's father
  • Exhibited: ‘Micheal Mac Liammoir, Designs & Illustrations 1917-1972’, Cork Arts Society Gallery, April 1973 presented by the Dublin Arts Festival and An Chomhairle Ealaíon ‘All for Hecuba. An exhibition to mark the Golden Jubilee of the Edwards – Mac Liammóir partnership and of the Gate Theatre 1928-1978’, Hugh Lane Municipal Gallery of Modern Art, Dublin, 2 October – 2 November, 1978, catalogue no. 3 as Five Pictures, 1917, of which these are three
  • Sheet size to include margin: 11.25 by 7.75ins.

    These three exceedingly rare and early examples by English-born Irish actor, dramatist, impresario, writer, poet and painter Mícheál Mac Líammóir are perhaps the earliest of his ouevre ever offered, dating to 1917. Enchanting and, at the same time, slightly sinister they exude all the charm and Celtic mysticism one might expect from a Renaissance man of the era and are testament to the artist’s imagination which repeatedly drew inspiration from ancient Irish folklore as well as from his celebrated contemporary, Jack Butler Yeats. Born Michael Willmore, near London, the artist began his career early as a child actor playing roles such as Oliver Twist at the tender age of eleven at His Majesty’s Theatre. As a young man he became fascinated with the Irish language and joined a London branch of the Gaelic League and became a self-taught gaelgóir. Theo Snoddy notes, “On coming to Dublin, he signed his watercolours Michael Willmore but in a small part at the Abbey Theatre in 1917 he became Mícheál MacLiammóir.” Amusingly, these early works trace this transition, two are signed “Micheal Willmore, 1917”, the latter is signed “Míceál Mac Uallmóir”. Snoddy notes an astonishing twelve different signature formats throughout the artist’s career. In 1928 Mac Líammóir founded The Gate Theatre with partner Hilton Edwards, who aptly described his graphic work as having, “…a romantic beauty, an evocation of things other than the obvious and the commonplace. An almost foot-light glamour is never really absent from them, or at least a light not seen by ordinary eyes. Never is gaiety far from his work, and there is always a sense of other-worldliness, whether that other world be of the Sidhe or of those lands that lie behind the theatre curtain that is about to rise.” (Foreword, The Dublin Arts Festival catalogue) These works were gifted by the artist to the current owner’s father who was a friend and colleague of the artist and have since been lent to several exhibitions as well as to Radió Teilifís Éireann (RTÉ) c.1999 for the documentary, Dear Boy: The Story of Mícheál Mac Líammóir.

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"IMEALL AN DOMHAIN" (THE EDGE OF THE WORLD) 1917
Mícheál MacLíammóir (1899-1978)

Auction Date / Lot No.: 30 May 2011 / 40

Published Estimate: €2000-3000

Price Realised: €2900

  • Signature: signed [MICHAEL WILLMORE.17] lower right; with inscription in the mount lower centre; with typed label affixed to original backing board
  • Medium: pen and ink with gouache
  • Dimensions: 15 by 22cm., 6 by 8.5in.
  • Provenance: Provenance:Gifted by the artist to the present owner's father
  • Exhibited: ‘Micheal Mac Liammoir, Designs & Illustrations 1917-1972’, The Dublin Arts Festival, March, 1973, catalogue nos. 1,2 &5 (listed p.5 of catalogue); ‘Micheal Mac Liammoir, Designs & Illustrations 1917-1972’, Cork Arts Society Gallery, April 1973 presented by the Dublin Arts Festival and An Chomhairle Ealaíon ‘All for Hecuba. An exhibition to mark the Golden Jubilee of the Edwards – Mac Liammóir partnership and of the Gate Theatre 1928-1978’, Hugh Lane Municipal Gallery of Modern Art, Dublin, 2 October – 2 November, 1978, catalogue no. 3 as Five Pictures, 1917, of which these are three
  • Sheet Size: 7.75 by 11.25ins.

    These three exceedingly rare and early examples by English-born Irish actor, dramatist, impresario, writer, poet and painter Mícheál Mac Líammóir are perhaps the earliest of his ouevre ever offered, dating to 1917. Enchanting and, at the same time, slightly sinister they exude all the charm and Celtic mysticism one might expect from a Renaissance man of the era and are testament to the artist’s imagination which repeatedly drew inspiration from ancient Irish folklore as well as from his celebrated contemporary, Jack Butler Yeats. Born Michael Willmore, near London, the artist began his career early as a child actor playing roles such as Oliver Twist at the tender age of eleven at His Majesty’s Theatre. As a young man he became fascinated with the Irish language and joined a London branch of the Gaelic League and became a self-taught gaelgóir. Theo Snoddy notes, “On coming to Dublin, he signed his watercolours Michael Willmore but in a small part at the Abbey Theatre in 1917 he became Mícheál MacLiammóir.” Amusingly, these early works trace this transition, two are signed “Micheal Willmore, 1917”, the latter is signed “Míceál Mac Uallmóir”. Snoddy notes an astonishing twelve different signature formats throughout the artist’s career. In 1928 Mac Líammóir founded The Gate Theatre with partner Hilton Edwards, who aptly described his graphic work as having, “…a romantic beauty, an evocation of things other than the obvious and the commonplace. An almost foot-light glamour is never really absent from them, or at least a light not seen by ordinary eyes. Never is gaiety far from his work, and there is always a sense of other-worldliness, whether that other world be of the Sidhe or of those lands that lie behind the theatre curtain that is about to rise.” (Foreword, The Dublin Arts Festival catalogue) These works were gifted by the artist to the current owner’s father who was a friend and colleague of the artist and have since been lent to several exhibitions as well as to Radió Teilifís Éireann (RTÉ) c.1999 for the documentary, Dear Boy: The Story of Mícheál Mac Líammóir.

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COLLECTION OF HARRY CLARKE EPHERMERA
COLLECTION OF HARRY CLARKE EPHERMERA
Harry Clarke RHA (1889-1931)

Auction Date / Lot No.: 30 May 2011 / 41

Published Estimate: €300-500

Price Realised: €1300

  • An eclectic collection of Harry Clarke ephemera pertaining to the artist’s life and his studios including; original artworks, sketches and prints, letters, photographs [including, The Eve of St. Agnes Window taken in its original location at the Jacobs home, Aylesbury Road, Dublin], catalogues, cards and cuttings among other items. From the Harry Clarke Studios; their copper printing block [North Frederick Street], Studio stationary including headed-paper, envelopes, business/calling cards and employee timesheets. A fascinating and intriguing assortment relating to Ireland’s foremost stained-glass artist.

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THE VILLAGE
THE VILLAGE
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 42

Published Estimate: €300-500

Price Realised: €750

  • Signature: signed in the plate lower right
  • Medium: hand-coloured Cuala Press print
  • Dimensions: 9 by 34cm., 3.5 by 13.5in.
  • Exhibited: Exhibited:'Arts & Crafts Society of Ireland', Cuala Industries, 1910, no. 222 (another copy)
  • Literature: Literature:Pyle, Hilary, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994, p.284-285 [nos. 2017 and 2026]
  • Sheet size: 4.5 by 14ins. The original of this print was executed in pen, ink and watercolour c.1906. It was later reproduced as a Dun Emer print (listed in Dun Emer Catalogue, October 1907 and Prospectus, May 1908) and as a Cuala print (5).

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THE MOUNTAIN FARM
THE MOUNTAIN FARM
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 43

Published Estimate: €200-300

Price Realised: €470

  • Signature: signed in the plate lower left; with Cuala Press print number [No. 6] and title printed in the margin lower left
  • Medium: hand-coloured Cuala Press print; (unframed)
  • Dimensions: 9 by 34cm., 3.5 by 13.5in.
  • Literature: Literature:Pyle, Hilary, The Different Worlds of Jack B. Yeats, His Cartoons and Illustrations, Irish Academic Press, Dublin, 1994. p.286, catalogue no. 2027 (illustrated)
  • Another early copy of this print designed by Yeats, executed by Molly Gill, was exhibited by the Cuala Industries at 'Arts and Crafts Society of Ireland', 1910, no. 211. This particular example is a very late Cuala print c.1970s.

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CHIN-ANGLES OR HOW THE POETS PASSED
Isa M. "Mac" Macnie (1869-1958)

Auction Date / Lot No.: 30 May 2011 / 44

Published Estimate: €400-500

Price Realised: €550

  • Signature: signed "Mac" lower right; with title and note hand-written in the margin lower centre beneath the mount
  • Medium: pencil with ink and watercolour (unframed); print (unframed)
  • Dimensions: 29 by 37cm., 11.5 by 14.7 5in.
  • Provenance: Provenance:From the collection of Tomás Ó'Deirg, Irish Volunteer and Government Minister
  • Chin Angles was Isa Macnie's best known cartoon. At a dinner, given in honour of her eightieth birthday at the Dublin United Arts Club, Macnie presented a copy of the cartoon in the form of a black and white print with wash to each of the members present. Inscription in the lower margin reads, "The story is told in Dublin that W.B. Yeats and George Russell ("AE") set out respectively from 82 and 84 Merrion Square to see each other...And passed at 83! This note is reproduced in the prints also. This original drawing with watercolour is almost identical to the prints, an example of which sold through Whyte's 6 December 2008, lot 207 for €740. Also with this lot, a print Mr WB Yeats, Presenting Mr George Moore to the Queen of Fairies, 1904. After illustration from The Poets Corner, by Sir Henry Maximilian "Max" Beerbohm (1872-1956) London, 1904. This cartoon satirises Moore's initiation into the Irish literary movement, with which he was to carry on a brief and uneasy collaboration. In the left background, there is a book shelf with the following list of titles stacked on it: Realism its cause and cure, Half hours with the symbols, Life of Kathleen Mavoureen, Erse without tears, Songs of Innocence, Murray's guide to Ireland, Short cuts to mysticism. To the upper right of WB Yeats, there is a map of Ireland with the counties lightly indicated, hanging on a wall. The original ink drawing of this print can be found in the collection of the Hugh Lane Gallery, Dublin (Reference: Lane Gift, 1912, Reg. 71). A copy of this cartoon can also be found in the collection of the Yeats Society Sligo, Hyde Bridge as well as the Milberg Irish Theatre Collection, Princeton University Library. (2 works)

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LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK B. YEATS, 1912
LIFE IN THE WEST OF IRELAND, DRAWN AND PAINTED BY JACK B. YEATS, 1912
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 45

Published Estimate: €200-400

Price Realised: €1850

  • Medium: first edition, book
  • Dimensions: 25 by 18cm., 10 by 7.25in.
  • Provenance: Provenance:Library of Tomás Ó'Deirg, Irish Volunteer and Government Minister
  • First edition, Maunsel & Company Ltd., Dublin and London, 1912. In original navy blue boards with gilt titled upper and spine. With original red dust jacket. Contains eight colour plates, thirty-two line drawings and sixteen reproductions from paintings, , including Only Two in it, p.105. The original watercolour for Only Two in it, 1905 by Jack Butler Yeats is being offered in this sale; lot 48.

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SELF-PORTRAIT ON A CLIFF TOP IN HOWTH
SELF-PORTRAIT ON A CLIFF TOP IN HOWTH
Sir William Orpen RA RI RHA (1878-1931)

Auction Date / Lot No.: 30 May 2011 / 46

Published Estimate: €10000-12000

Price Realised: €9500

  • Signature: signed lower right; with another full-length female nude study in pencil exposed on reverse; with typed Jorgensen Fine Art label on reverse
  • Medium: charcoal with gouache and oil on buff coloured card
  • Dimensions: 50 by 36cm., 19.7 5 by 14.2 5in.
  • Provenance: Sotheby's, 24 March 1994, lot 119; with Jorgensen Fine Art, Dublin; Where purchased by Jim McNaughton [Art Collector]; His estate sale, Adam’s & Bonhams, 3 December 2008, lot 62; Where purchased by the present owner
  • This challenging work, like others in the same ilk, such as Nude on the Hill of Howth, (sold by Whyte’s 15 March 2010, lot 78, €16,500) is likely to be a composite based on an early black chalk or charcoal study of a nude. Probably originally dating to the turn of the twentieth century or the first decade thereafter, Orpen modified it much later, 1931 to be precise. This he achieved mainly by the inclusion of colour, using oil or gouache to partly over-paint or modify the subject and add background in order to place the figure in a totally different context. Works in this small but highly significant part of his oeuvre are amongst his last works, three of which were exhibited at the Royal Academy in 1931. They are generally reflective and introspective and may well represent for Orpen a vision of himself, even if his mental and physical deterioration, of which he must have been aware, may conceivably have left him bereft of his ability and skill, so that he no longer had the necessary control of line to create a composition from scratch. In 1931 Orpen realised that his life expectancy was very limited. Thus the need to commit to canvas and paper those expressions of thoughts feelings and emotions he had put off for over a decade became far more urgent. Distilled through the filters of his illness, the out-pouring of his clouded mind became an attempt to reconcile himself with, and embrace, his rapidly approaching death through an introspective evaluation of his life. Ever mindful of his failing faculties, he sought to alleviate technical difficulties by using earlier studies of the nude, created when at the height of his skill, to preserve line, resorting to colour and form where precision was not as essential to create the required effect. Similarly, as with all these last works, it is set in an indeterminate location, an ethereal plane comprising earth, sea and sky, populated by seagulls and the odd bloom here and there, that may be an idealised reference to Howth and Dublin Bay, but again, although highly likely, it is impossible to be certain. The quality of these works suggest Orpen was trying to aspire to some supernatural vision, as if he was looking through his own approaching death to the after-life. The current offering is no exception, with an almost classical pose of a tormented soul looking down into the abyss. Orpen almost certainly meant it to be a portrait of his own essence and spirit, and given his state of mind, it is this intention that must be considered first and foremost. Just as with Van Gogh, whatever governed Orpen’s thoughts in the last months, he still was able to produce powerful, challenging and enigmatic works. As such these oft dismissed works, including the current one, should not be rejected or ignored. Instead they need to be embraced, for they represent the closing bracket around the artistic life of a great painter. Christopher Pearson The Orpen Research Project May, 2011

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KNOCKNAREA, c.1906
KNOCKNAREA, c.1906
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 47

Published Estimate: €8000-10000

Price Realised: €8500

  • Signature: signed in monogram lower right
  • Medium: watercolour
  • Dimensions: 18 by 26cm., 7 by 10.2 5in.
  • Provenance: Victor Waddington, London; Whence purchased by Dan McInerney, Dublin; Christie’s, Carrickmines House Sale, Dublin, 10 February 1986, lot 340; Hamilton & Hamilton, Dublin; with Jack Murphy, London; Adam’s & Bonhams, 8 December 1999, lot 40 Private collection.
  • Literature: Literature:Pyle, Hilary, Jack B. Yeats, His Watercolours, Drawings and Pastels, Irish Academic Press Dublin, 1993, catalogue no. 587, p.147 (illustrated)
  • On this work Pyle notes, "A composition very similar to that of the oil Knocknarea and The Flowing Tide, 1921. Three men stand by a wall near Rosses Point. Beyond is the small promontory, Horse Island. Knocknarea is on the far side of the narrow sea inlet". Pyle also notes that the monogram, visible lower right, was added at a later date.

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ONLY TWO IN IT, 1905
ONLY TWO IN IT, 1905
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 48

Published Estimate: €25000-30000

Price Realised: €25000

  • Signature: signed lower right
  • Medium: watercolour
  • Dimensions: 26 by 36cm., 10.2 5 by 14.2 5in.
  • Provenance: Sold through The Dawson Gallery, February 1948; Malcolm Rhodes MacBride, California; The Dawson Gallery, Dublin; Dan McInerney, Dublin; Christie's, Carrickmines House Sale, Dublin, 10 February 1986, lot 338; Private collection; Adam’s & Bonhams, 8 December 1999, lot 77 [sold for £50,000 Irish Pounds]; Private collection
  • Exhibited: 'Paintings, Drawings and Sketches by JH Donaldson, Jack B. Yeats, Elinor Monsell and Mrs Norman’, Baillies Gallery, London, February- March, 1905, no. 72; 'Jack Butler Yeats: Pictures of Life in the West of Ireland’, Leinster Hall, Dublin, October, 1905, no. 14
  • Literature: Yeats, Jack B. , Life in The West of Ireland, Maunsel, Dublin, 1912 & 1915, p.105 (illustrated); Pyle, Hilary, Jack B. Yeats, His Watercolours, Drawings and Pastels, Irish Academic Press, Dublin, 1993, catalogue no. 563 p.143 (illustrated)
  • Jack Yeats’ watercolour painting of a West of Ireland horse-race was included in two important early exhibitions of his work in London and Dublin in 1905. Shown along with 38 other works at the Baillie Gallery in Bayswater, Only Two in It formed part of an exhibition which conveyed a refreshing and novel sense of contemporary Irish life to the British viewer. Indeed the critic of the Western Press considered Yeats’ show to be altogether a better exhibition of Irish art than the major survey of Irish art curated by Hugh Lane and presented to great acclaim at the Guildhall, London the previous year. A version of the Baillie Gallery show was held at the Leinster Hall in Dublin later in 1905 where it received much critical attention. Attended by leading members of Irish society including key figures of the Gaelic Revival, the show was considered by at least one writer as an advance on Yeats’ earlier exhibitions and one which marked him out as an exponent of ‘that evasive Irish spirit’. Displayed alongside such iconic works as Man of Aranmore and Rum and Barnacles, now both in the collection of the National Gallery of Ireland, Only Two in It was subsequently reproduced in Yeats’ 1912 book, Life in the West of Ireland (See lot 45 for a copy of this book). This is indicative of the value that the artist attached to the work which deals with a central theme in his oeuvre, the strand races of the West of Ireland. Its dramatic cut-off composition of two speeding horses and jockeys approaching the finishing line brings the viewer straight into the action and excitement of the event. The view of open landscape and mountains expanding behind the race evoke a sense of the wildness and freedom of the West of Ireland as both a real and an imaginative terrain. The basic subject and composition was developed in a number of Yeats’ later works, most notably in his set of prints for the Dún Emer press, published c.1906, The Strand Races: The Start and The Finish. As in these works, in Only Two in It Yeats subtly transforms a traditional horse racing scene into a modern work of art through his novel choice of viewpoint and his almost primitive handling of form and colour.

    Dr. Róisín Kennedy

    May 2011

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JACK BUTLER YEATS, STUDIO ARCHIVE COLLECTION
JACK BUTLER YEATS, STUDIO ARCHIVE COLLECTION
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 49

Published Estimate: €20000-30000

Price Realised: €24000

  • Medium: oil paints, watercolour, boxes, brushes, etc.
  • Provenance: Provenance:The Estate of Jack Butler Yeats; Bequeathed to his niece Anne Yeats (1919-2001); Her Estate; Private collection
  • A unique and important collection of paints, brushes, palette knives and related items from the studio of Ireland’s greatest artist of the 20th century. Bequeathed to this niece the painter Anne Yeats these artefacts are of universal interest to scholars and collectors alike. Also included are some printed Christmas cards designed by Jack Yeats, his business cards, manuscript notes on the composition of a painting and a lunch menu, his address book, his cheque book for 1946 and related ephemera, as well as important documents relating to his estate as provenance for this lot. When Jack Yeats died in 1957 he left the contents of this studio to his niece, the artist Anne Yeats. Anne carefully catalogued and managed her uncle’s sketchbooks, library, correspondence and belongings until she presented the bulk of the material to the National Gallery of Ireland in 1996, where it now forms the core of the Yeats Archive. The current lot contains the vestiges of Jack Yeats’ studio. It includes the contents of Jack Yeats’ paint-box, as listed by Anne, several palettes and a number of paint boxes which belonged to the artist. The paint is manufactured by Windsor and Newton, a favourite source of art material throughout Yeats’ long career. (There is a Windsor and Newton catalogue in the archive at the National Gallery). As Yeats was almost secretive about his working methods these items provide an intriguing insight into the very private world of his studio. Other interesting items in this collection include one of Yeats’ address books which lists many of his close friends and contacts such as Padraic and Mary Colum in New York, the writer and critic Patrick Kavanagh and the English artist John Piper. A chequebook covering late 1945 to 1947 reveals the ongoing expenditure in Yeats’ domestic life while prescriptions issued at Portobello House in 1957, the nursing home where the artist spent his final years, offer another poignant insight into his later years. The material also features a quantity of blank Christmas and New Year cards, designed and privately printed by Yeats in the early 1950s. One, inscribed from ‘Jack B. Yeats – To Wish you a Very Happy Christmas’, depicts a headless scarecrow, pushing a wheelbarrow and courteously doffing his hat as he passes by. The scarecrow appears in a second card, uncatalogued by Hilary Pyle, again doffing his hat beneath a flying broomstick. A design for a New Year card shows a flying horse and the scarecrow soaring through the air in a wheelbarrow. The scarecrow carries a heavy bag containing the incoming baby New Year. Yeats used a Pegasus or flying horse in a book plate designed for Eileen and Fred Reid in 1953, at the same time as he made these cards. The artist would have been aware of the rich mythological significance of the Pegasus, a divine creature which is transformed into a heavenly constellation, and which is closely associated with the muses and particularly poetry. Yeats in his New Year card uses the horse to symbolise the metaphysical changes that time produces as he himself contemplated his own mortality. He told Eileen Reid that ‘All horses had wings – and now their wings are taking them away from us’. (The card designs are catalogued in Hilary Pyle’s Different Worlds of Jack B. Yeats. His Cartoons and Illustrations, Irish Academic Press, 1994, 2082; 2082A, and see also 2119 for an account of the Reid bookplate. )

    Dr. Róisín Kennedy

    May 2011

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JACK BUTLER YEATS' PAINTING CABINET
JACK BUTLER YEATS' PAINTING CABINET
Jack Butler Yeats RHA (1871-1957)

Auction Date / Lot No.: 30 May 2011 / 49.1

Published Estimate: €10000-15000

Price Realised: €0

  • Medium: oak cabinet, three drawers, surmounted by a metal painting box, hinged lid
  • Provenance: Provenance:The Estate of Jack Butler Yeats; Bequeathed to his niece Anne Yeats (1919-2001); Her Estate; Edward Butler Antiques; Private collection
  • Exhibited: Exhibited: Hunt Museum, Limerick, `Jack B Yeats Master of Ceremonies', 16 June - 26 September 2004, courtesy of the present owner
  • Depth of cabinet 17ins.

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